Review: HELLO, DOLLY!, The London Palladium

Well, we got there in the end and thankfully, it was worth the wait. Initially due to open back in 2020, Dominic Cooke’s adaptation of Hello, Dolly! has finally arrived in the West End.

Right from the Golden age of Hollywood musicals, the late Jerry Herman’s 1964 show has had four Broadway revivals, most recently in 2017-2018, starring Bette Midler.

We follow Dolly Levi’s efforts to find a match for Horace Vandergelder, the well-known “half-millionaire”, so that she can spread his money around to encourage things to grow, just as her late husband taught her; however, Vandergelder might actually be the right fit for her. Silly, sweet and very funny, the show's themes of renewal and a second chance at life are also very touching.

The lavish production reunites the inimitable Imelda Staunton with director Dominic Cooke, following the huge success of Follies at The National Theatre. Staunton plays the eponymous Dolly with a permanent twinkle in her eye as the mischievous matchmaker, showing incredible energy throughout. Her stage presence is wonderful and the role feels as though it was written for her; she is funny, dynamic and cheeky, yet full of genuine emotion and heart.

“So Long Dearie” reminds us of her barn-storming performance as Mamma Rose in Gypsy and “Before The Parade Passes By” is a truly touching demonstration from Staunton of moving from despair at her position as a widow to joyful renewal of her new life. She sings “Hello, Dolly!” brimming with heart: it is a tour de force performance.

The musical opens with a rousing version of “Just Leave Everything to Me”, which was written for the film rather than the stage play, after Staunton reportedly called up Herman to seek his blessing to use it, just before his death. 

Andy Nyman as Horace Vandergelder is suitably dour and miserable. The dynamic between Nyman and Staunton is very playfully combative and you really root for them to just get it together. Staunton makes it clear she still loves her late husband, but sees a new part of her life about to begin.

It is wonderful to see two middle-aged women in such interesting roles and Olivier Award-winning Jenna Russell is also great as widow Irene Molloy, although the character is less developed than Dolly. Witty and wise, Russell shows a sweet developing dynamic between Irene and Harry Heppell as Vandergelder's put-upon head clerk Cornelius.

Heppell shows asute comic timing and a lovely slapstick rapport with his assistant Barnaby, played with gorgeous innocence by Tyrone Huntley. Special mentions should also go to Jodie Jacobs, who is suitably brash and bold as Dolly's set-up dinner date Ernestina and Emily Langham's hysterical Vandergelder's niece, Ermengarde. 

Cooke’s direction is pacy, making full use of a revolving pathway to create movement and flow in stage. Bill Deamer's choreography is simply joyous, with immaculate performances from the vigorous ensemble.

This is a big, spectacular show that carries you away to a bygone era. No expense has been spared, particularly in Rae Smith’s extravagant set and sumptuous costumes- I have rarely seen as many dressers listed in the production credits. When Staunton appears at the top of the sweeping staircase of the incredibly opulent Harmonia Gardens restaurant there is an audible gasp: her glittering emerald green dress, immaculately coiffed hair and feathered headpiece feels you are witnessing an iconic moment. 

Every scene is a gem. “Put On Your Sunday Clothes” is performed complete with an actual train, using Finn Ross' excellent projections of New York streets whipping by, which create a real fluidity of movement.

The score sounds wonderful under the musical supervision of Nick Skilbeck and a fantastic 21 piece orchestra. There is charm and nostalgia by the bucket-load and the frivolous nature of the fun makes it feel even more inviting.

An immaculate Staunton is the heart of this production, but there is so much to enjoy about this truly joyful show. It will be spoken of in years to come-don't miss it!

Read our interview with director Dominic Cooke here.

Hello, Dolly! is at the London Palladium until 14 September

Photo Credits: Manuel Harlan

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